Will it all be over by Christmas, I wonder? Doubtful. With the 'Big Push' – the General Election – imminent, heated exchanges on the Kaminski salient are set to flare again.

Back in the Labour bunker – desperate for some good news for their flagging, increasingly mutinous troops – they believe they can occupy the moral high ground, outflanking the Tories over its axis with the Kaminski irregulars in the Polish Law and Justice party.

As they fall back, on virtually every other political front, the Labourite rabble hope for a last ditched break-out, based on the belief that David Cameron (an officer and a gentleman, natch) is a hostage of the Tories own fifth column – the euro-sceptical jihadis.

For the record, I have also weighed in to the fracas. I have stated that the Anglo Jewish cohorts who have (been) rallied to the Kaminski flag have put politics before their people and their conscience.

Kaminski may not be a rabid Jew-hater, but I do believe he has been influenced by the anti-Semitism embedded in Polish history.

But now I'm back on civy(lised) street – word-weary I've left the political soldiers to their games – taking stock with the help of the Arts.

Off to the Tate Modern and Miroslaw Balka's 'How It Is' installation, a vast, terrifyingly dark steel container filling the gallery's cavernous Turbine Hall.

Balka has long been obsessed with the fate of the Jews in his country. The piece is intended to evoke a shipping container, a cattle car, or a gas chamber.

Next door at the National Theatre 'Our Class' is enjoying a feted run. It follows a group of Polish characters, from their schooldays in the 1920s, through the Second World War and beyond, and seems like a distillation of all the horrors of the 20th century. Set in a village akin to Jedwabne it is a powerful and poignant counterpoint to the Kaminski saga.

Both Slobodzianek and Balka are non-Jewish Polish artists honestly wrestling with the epic events that turned their sad nation into the "heart of darkness"; where seemingly unforgettable events were crudely erased by fifty years of Soviet occupation and the unspeakable guilt of the Polish collaborators with the Final Solution (how the Nazis must have chortled as some Poles eagerly did their dirty work, ignorant of their own fate to come as the Slavic slaves of the 'Thousand-year Reich').

Do not underestimate the courage of these recent artistic endeavours. Powerful interests – whom Kaminski has been accused of fellow-travelling with – despise their honesty, their humanity.

Aro Korol (also not Jewish) recently started work on a film called Hitler’s Daughter, examining anti-Semitism in Poland and, in particular, accusations of Jew-baiting made against the Catholic Radio Maryja radio station.

“The promotional reel caused great turmoil in the Polish media. I became the object of numerous attacks, received many death threats and many comments of a very anti-Semitic in nature, such as ‘leave Poland alone, you Jew, or we’ll cut your hands off’, and so on,” he told the Jewish Chronicle.

These brave artists want to recover their history and confront the past; echoing the search for the truth young Germans began in the late 60s - filling the void of their parents and grandparents silence and sin.

Only good can come of this. They are free Poland; fearless Poland. The Poland of the Warsaw Rising, the Poland that gave birth to Solidarity, the Poland where a great Jewish civilisation flourished for a millennium. This is the Poland that can and should play an important role in 21st century Europe.